Author： Brakel Arthur
Publisher： Springer Publishing Company
ISSN： 0028-2677
Source： Neophilologus, Vol.95, Iss.2, 2011-04, pp. : 207-220
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Abstract
This article argues that García Lorca's Doña Rosita la soltera, which critics have considered his least typical and most traditional play, is in essence metatheater. After reviewing the concept of metatheater and critics' appreciation of the role metatheater has played in Lorca's other dramas, it examines the play's ample instances of metatheatrical characteristics: spectacles within the spectacle, intertextuality, literary criticism, and characters who assume the role of director, stage manager, stage hand, prompter, spectator, and critic. Rosita's Aunt, whom critics have seen as passive, conventional, and apathetic, emerges as dramatically crucial—she is the analogue of Lorca's frustrated directors in El público and Comedia sin título. The article ends suggesting that the play's subtlety has caused critics to overlook its metatheatrical nature.
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